The Secret of Southwest Airlines

Seth Stevenson unpacks the secret of Southwest Airlines’s success, compared to other airlines which have been struggling to carry a profit:

While other airline fleets can employ 10 or more types of aircraft, Southwest uses just one, the Boeing 737. As V.P. of ground operations Chris Wahlenmaier explained to me, this results in all manner of cost-saving efficiencies: “We only need to train our mechanics on one type of airplane. We only need extra parts inventory for that one type of airplane. If we have to swap a plane out at the last minute for maintenance, the fleet is totally interchangeable—all our on-board crews and ground crews are already familiar with it. And there are no challenges in how and where we can park our planes on the ground, since they’re all the same shape and size.”

Southwest also doesn’t assign seat numbers. Which means that if a plane is swapped out, and a new one’s brought in with a different seat configuration (even within the world of 737s, there can be some variations), there’s no need to adjust the entire seating arrangement and issue new boarding passes. Passengers simply board and sit where they like.

Lastly, Southwest doesn’t charge customers for a first checked bag. That means time is saved on every departure since these people aren’t trying to cram their overstuffed carry-on bags into overhead bins.

The Economics of Bank Robberies

Crime doesn’t pay when it comes to robbing banks, a new study finds… Economist Neil Rickman of the University of Surrey and his colleagues were given unusual access to financial data from the British Bankers’ Association. Such data about robberies are not usually disclosed to the public because it is commercially sensitive and could encourage copycat robbers. The data details:

In 2007, there were 106 bank robberies or attempted robberies at the 10,500 bank branches, compared with 7,500 robberies of other businesses. (In the U.S. in 2006, there were about 12,000 bank robberies.) Although bank robberies in Southern California tend to occur in higher numbers at branches near freeway entrances, the British team found no link to branch size, branch location, or how busy a particular branch is. Of all those robbed, only 13 were targeted twice and only one three times. About a third of attempted robberies were unsuccessful, and about 20% of the successful robbers were ultimately caught and convicted.

The average take in a British bank robbery is a modest 12,706.60 euros (about $15,887) per person, compared with an average of $4,330 in U.S. bank robberies. Given that the average U.K.wage for fully employed people in Britain is about 26,000 euros, a bank robbery “will give him a modest lifestyle for no more than 6 months.” If he robs two, he will still have only a modest lifestyle. Four robberies, and the odds are excellent that he will land in jail…Using a firearm in the robbery increases the average take by 10,300 euros (nearly $13,000). Each additional member of the gang raises the take by 9,033 euros ($11,600), but that means the average take per robber is lower.

Successful criminals study econometrics, the authors conclude, but based on the data provided, robbing banks is still a bad idea, economically speaking.

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(hat tip: Tyler Cowen)

Wes Anderson on Vision and Creativity

Wes Anderson, director of such films as The Royal TenenbaumsThe Life Aquatic with Steve ZissouThe Darjeeling Limited, and Fantastic Mr. Fox, shares his vision and creative process in this Wall Street Journal excerpt.

On changing life plans as he was growing up:

I didn’t grow up wanting to make movies; what I really wanted to be was an architect. I had this drafting table with all these little instruments I would arrange carefully around the edges. I used to draw everything. When I was in fifth grade, I started to make Super 8 movies, and I liked that very much. I also got interested in George Lucas at about that time, and then, by seventh grade, I became obsessed with Alfred Hitchcock. But I still wanted to be an architect. Sometimes I thought I might also like to be a writer. I didn’t settle on film until I was in college.

There were two reasons I became a filmmaker instead of, say, a novelist. I have always been interested in the visual composition of things. It’s part of why I liked to draw so much. But I also love to put on a show. In fact, I enjoyed that long before I even thought about making movies. I’m not essentially a camera guy; I don’t take very good still photographs and I never have. But I do feel comfortable with the other aspects of filmmaking.

On handling criticism:

People respond strongly to my work, one way or another. I care about critics in the sense that if you have a good review, it’s nice to hear about it, and if you have a bad review, it’s quite nice not to hear about it. When I am making a movie, I try to put all of that out of my mind and think just about the world I am creating. When people criticize my work, they often seem to say either that my worldview is too specific or, “Who needs your world?” Those are not criticisms that resonate with me, because what fictional world do you actually need?

On sticking with small budgets for films (my favorite portion of the interview):

I have been asked why I don’t make a big-budget movie or what’s considered a Hollywood movie. I don’t feel particularly compelled to do that sort of thing. The more economical you can be, the more fun you are going to have. I find it all slows down when it gets really big. The process can be so much more light on its feet and inspiring when you are nimble.

On the collaborative process:

The collaborative process doesn’t end for me with writing. If anything, it intensifies when we are on the set. Even if I know exactly what I want when I am filming, I need people to help me figure out how to get that across. Sometimes knowing what you want doesn’t mean you know how to make it happen or how to communicate it to an audience. There are any number of people whom I rely on to different degrees—the cinematographer Bob Yeoman; Roman, in the past; Jeremy Dawson, who produces, is very involved. And of course my editor, Andy Weisblum, is a key person for me. A good part of what I want them all to do is to prevent me from making mistakes.

I am not the biggest fan of Anderson’s works, but I did enjoy reading the interview.

A Vintage Crime

In the latest issue of Vanity Fair, Michael Steinberger writes a fascinating story about Rudy Kurniawan, a 31-year-old Indonesian transplant living in the United States and producing counterfeit wine. “A Vintage Crime” is a story of a man who sold $35 million worth of wine in 2006, yet just a few months later was begging for loans. A slow rise but a strong fall, as he now faces up to 80 years in jail.

A bit of background:

Beginning in the early 2000s, demand and prices for the rarest wines shot up rapidly, as did the potential payoff from selling fakes. In 2000, wine auctions worldwide grossed $92 million; by last year, that figure had quintupled, to $478 million. The buying frenzy was driven in large part by young collectors in the United States. In contrast to the more buttoned-down Thurston Howell types who had once dominated the auction scene, these new players were distinguished by their insatiable acquisitiveness and eagerness to flaunt their trophy bottles.

No one moved the market more than a twentysomething West Coast collector named Rudy Kurniawan. He first surfaced on the wine scene in the early 2000s. He was reportedly the scion of a wealthy ethnic-Chinese family from Indonesia. In an interview with the Los Angeles Times, in 2006, he explained that Kurniawan was an Indonesian surname his late father had given him to protect his identity. He said that his family had business interests in Indonesia and China, but refused to elaborate.

How Kurwinian’s forgery binge began: by getting the empty bottles of the super-expensive wine bottles:

According to John Kapon, he and Kurniawan met at a wine dinner in Los Angeles. In October 2004, they and some acquaintances went on a four-day binge at Cru that became an emblematic moment for the brash new wine culture that had taken hold. By the end of the last evening, the group had consumed a murderers’ row of legendary wines—1945 Mouton Rothschild, 1961 Jaboulet Hermitage La Chapelle, 1971 La Tâche, 1964 Romanée-Conti, 1978 Guigal Côte-Rôtie La Mouline—and racked up a total tab that one participant said was more than $250,000. Kurniawan paid for the whole thing with his American Express Black Card. He also made a curious request of Cru’s staff: he asked that the restaurant send him all of the empty bottles. He made the same request on subsequent visits to Cru, and between 2004 and 2006 the restaurant sent him box after box of empty bottles.

On Kurniawan’s eccentricities:

He often slept until the afternoon and was maddeningly disorganized, habitually arriving late for engagements and seldom paying bills on time. He also had eccentricities: Wilfred Jaeger, a Bay Area wine collector, says that Kurniawan had a habit of falling asleep at tastings; he would suddenly nod off for 20 or 30 minutes before waking up and resuming drinking. Kurniawan’s mother lived with him in Arcadia, and he sometimes brought her to tastings.

Upon his capture:

In addition to thousands of fake labels for wines such as Romanée-Conti, there were dozens of rubber stamps marked with vintages and winery names; a gadget for inserting corks into bottles; California wines whose labels bore handwritten notes suggesting that they would be passed off as Bordeaux; and dozens of bottles in various stages of being converted to counterfeits.

A thoroughly engrossing read. If anything, this story reinforced my belief in how fickle the rare-wine market truly is.

Shooting Patterns of the Heat and Thunder

One of the most anticipated NBA finals in years is set to begin tonight.

The shooting patterns for the players on the Miami Heat and the Oklahoma City Thunder reveal where they are most dangerous on the court. Before the series begins tonight, compare each player’s strengths using court maps and analysis by Kirk Goldsberry, a geography professor at Michigan State, in this stunning New York Times infographic.

The related blog post is here.

LeBron James vs. Kevin Durant

The NBA couldn’t ask for anything bigger to cap the shortened season: the Miami Heat vs. the Oklahoma City Thunder in the NBA finals. It’s LeBron vs. Durant, or in the words of Rick Reilly for ESPN, who is infinitely quotable here:

The King versus the King-In-Waiting, the three-time MVP versus the three-time scoring champ, The One They Hate versus The One They Love, for the Championship of the World, the Keys to the NBA’s Next Dynasty, and the title of Greatest Basketball Player on Planet Earth.

Loser empties ashtrays in Kabul for a year.

The question is: Who do you like?

They look nothing alike, play nothing alike, and live in two cities that have nothing in common, apart from both towns liking their dinner served absolutely rare. In Miami, it’s sushi. In Oklahoma City, it’s steak.

James is four years older by birthdays than Durant and 40 years older by troubles. He is only 27, but looks 37, which is what comes from playing under 1,000 pounds per square inch of pressure every game. Children and grandmothers spit his name for the way he jilted Cleveland, for the way he promised seven rings before winning one, for the Hobbit beard.

The rest of the piece here.

As for me? I am rooting for Miami, because I wouldn’t stand the pundits proclaiming how LeBron is a choker if he can’t capture the title for South Beach.

Tokyo Overtakes Luanda as Most Expensive City For Expats

Earlier this year, we saw a report that Luanda (in Angola) was the most expensive city for expats. However, a new survey has Tokyo topping the list:

The analysis uses New York as a base city and measures the comparative prices of more than 200 items in each location, such as transport, clothing, food, household goods and entertainment. Housing costs, which are also included, are critical in the ranking as they are often the biggest expense for expatriates.

A pair of blue jeans costs $174 in Luanda while expats in Moscow pay about $9.60 for an international newspaper, Mercer said. In Tokyo, a cup of coffee runs about $8.15 and the monthly rent on a luxury two-bedroom unfurnished apartment is $4,766.

I pay $1.61 for a cup of coffee every morning, so compared to a cup that costs $8.15 in Tokyo, I’m happy where I am…

What Did the First Fictional Aliens Look Like?

A recent release of sci-film films (Men in Black, Prometheus) has Laura Miller at The New Yorker wondering: what did the first fictional aliens look like?

For all their diversity, these creatures tend to fall into one of two groups: those we can live with and those we can’t. This summer, Hollywood franchises espousing each view will be delivering their newest installments. The genial “Men in Black” movies suggest that freaky-looking extraterrestrials already live among us, undetected by most citizens and overseen by an agency made up of weary bureaucrats and blasé field officers. The films are an extended pun on the alternate meaning of “alien”: immigrant. Far grimmer is “Prometheus,” the latest “Alien” movie; the series features an implacable foe that uses our bodies as nests for its young, and likes to chase us through hideous, dripping corridors while baring its hideous, dripping fangs.

Before the nineteenth century, if authors depicted the inhabitants of other planets the aliens were essentially human. The suave Saturnian described by Voltaire in a satirical 1752 story, “Micromégas,” looks like an earthling, except that he’s six thousand feet tall. (And he has a Continental spirit, keeping a mistress—a “pretty little brunette, barely six hundred and sixty fathoms high.”) The Saturnian’s primary fictional purpose, as he visits our planet, is to marvel at the relative puniness of humankind, whom he examines with a very large microscope.

It’s a very good thought piece, researched extensively.

The Many Voices of @Sweden

One of the great things currently unfolding on Twitter is the @Sweden Twitter account. The program, known as Curators of Sweden, came about when the Swedish Institute and Visit Sweden, the government tourist agency, sought to develop a plan to present the country to the world on Twitter. They hired an advertising company, Volontaire.

To qualify to post for the @Sweden account, one must “be interesting,” Twitter-literate, and happy to post in English.

The New York Times profiles a few people who’ve had the privilege for speaking for the Nordic nation.

On the benefits of posting for @Sweden for a young man named Erik Isberg:

The authorities at his school waived their usual rule against in-class tweeting (one teacher told Mr. Isberg he could skip all his classes, if he needed more time to post).

The success of the @Sweden account has inspired similar Twitter initiatives from other countries and travel sites.

The Rules of Storytelling (According to Pixar)

On Twitter, Pixar storyboard artist Emma Coats has compiled the following 22 items of wisdom she’s received working for the animation studio over the years:

1: You admire a character for trying more than for their successes.

2: You gotta keep in mind what’s interesting to you as an audience, not what’s fun to do as a writer. They can be v. different.

3: Trying for theme is important, but you won’t see what the story is actually about til you’re at the end of it. Now rewrite.

4: Once upon a time there was ___. Every day, ___. One day ___. Because of that, ___. Because of that, ___. Until finally ___.

5: Simplify. Focus. Combine characters. Hop over detours. You’ll feel like you’re losing valuable stuff but it sets you free.

6: What is your character good at, comfortable with? Throw the polar opposite at them. Challenge them. How do they deal?

7: Come up with your ending before you figure out your middle. Seriously. Endings are hard, get yours working up front.

8: Finish your story, let go even if it’s not perfect. In an ideal world you have both, but move on. Do better next time.

9: When you’re stuck, make a list of what WOULDN’T happen next. Lots of times the material to get you unstuck will show up.

10: Pull apart the stories you like. What you like in them is a part of you; you’ve got to recognize it before you can use it.

11: Putting it on paper lets you start fixing it. If it stays in your head, a perfect idea, you’ll never share it with anyone.

12: Discount the 1st thing that comes to mind. And the 2nd, 3rd, 4th, 5th – get the obvious out of the way. Surprise yourself.

13: Give your characters opinions. Passive/malleable might seem likable to you as you write, but it’s poison to the audience.

14: Why must you tell THIS story? What’s the belief burning within you that your story feeds off of? That’s the heart of it.

15: If you were your character, in this situation, how would you feel? Honesty lends credibility to unbelievable situations.

16: What are the stakes? Give us reason to root for the character. What happens if they don’t succeed? Stack the odds against.

17: No work is ever wasted. If it’s not working, let go and move on – it’ll come back around to be useful later.

18: You have to know yourself: the difference between doing your best & fussing. Story is testing, not refining.

19: Coincidences to get characters into trouble are great; coincidences to get them out of it are cheating.

20: Exercise: take the building blocks of a movie you dislike. How d’you rearrange them into what you DO like?

21: You gotta identify with your situation/characters, can’t just write ‘cool’. What would make YOU act that way?

22: What’s the essence of your story? Most economical telling of it? If you know that, you can build out from there.

What do you think of this list?

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(via i09)